花屏——莫高窟宋、回鹘、西夏蜀葵图像探究  

The Flower Screen——Exploration on the Hollyhock Images in Mogao Grottoes in the Periods of Song Dynasty, Uighur and Western Xia

作　　者：史忠平[1] Shi Zhongping

机构地区：[1]西北师范大学美术学院,甘肃兰州730070

出　　处：《艺术探索》2022年第6期41-54,共14页Arts Exploration

基　　金：2019年度国家社科基金艺术学项目“敦煌石窟花鸟画研究”(19BF092)。

摘　　要：莫高窟蜀葵图像始见于唐代,多以丛聚、独株、花朵的形式穿插于人物周围或持于人物手中,从各方面看,都与长安京畿地区墓葬壁画、线刻画中的同类图像存在渊源关系。及至宋、回鹘、西夏时期,蜀葵图像被大面积连片描绘在佛龛内外,形成蜀葵花的屏障,非常特殊。这一时期莫高窟蜀葵图像在图式上主要遵循敦煌内部的图绘风格,但母题又根植于内地主流绘画,属于花卉装饰一系;在文化内涵上主要继承了文人画理念与传统忠君思想,属于儒家忠孝一系。The images of hollyhock in Mogao Grottoes(莫高窟)first appeared in Tang dynasty,mostly in the form of cluster,a solitary plant or the flowers interspersed around or in the hands of the characters.From all aspects,they are related to similar images in tomb murals and line carvings in the environ area of Chang'an.In the periods of Song dynasty,Uighur(回鹘),and Western Xia(西夏),images of hollyhock were depicted in large areas inside and outside the shrine,forming a special"screen barrier"of hollyhock.During these period,hesp periods of hollyhock in Mogao Grottoes mainly followed the internal pictorial style in terms of schema,but the motif was rooted in traditional mainland paintings,belonging to the series of floral decorations.In terms of cultural connotation,it mainly inherited the concept of literati painting and the traditional idea of loyalty,belonging to the loyalty and filial piety of Confucianism.

关 键 词：莫高窟 宋 回鹘 西夏 蜀葵图像 

分 类 号：J205[艺术—美术]